Cunningham or Paul Taylor?<P>ismene brown asks the question......<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>One of these two men is "the world's greatest living choreographer".<BR> Or the other one is. They have both been called it, by rival camps.<BR> They are the twin faces of contemporary dance: the one<BR> experimental, abstract, visual; the other athletic, emotional, musical.<BR> The followers of dance divide fiercely on who is the master, with<BR> Taylor commanding delight from those who find Cunningham<BR> abstruse, and the Cunninghamites sometimes scorning Taylor for<BR> being too "accessible".<HR></BLOCKQUOTE><BR> <A HREF="http://www.telegraph.co.uk/et?ac=003319252016647&rtmo=fqDvqDas&atmo=tttttttd&pg=/et/00/10/10/btmerc10.html" TARGET=_blank>brown compares cunningham and taylor</A> <P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>No one needs reminding what<BR> a year 2000 has been for<BR> classical ballet lovers, but in years to come those who love modern<BR> dance will recall the almost unprecedented opportunity this year<BR> gave them to see the finest creators of the golden age of American<BR> modern dance. Not only did we have the charming Mark Morris last<BR> summer at the Coliseum, but tonight Cunningham opens at the<BR> Barbican and next month Taylor visits Sadler's Wells, with the bonus<BR> of Trisha Brown also coming to tour Britain in November.<HR></BLOCKQUOTE><P>richard alston ventures an opinion:<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>I wondered which of them had the greatest influence these days in<BR> Britain. "There's no question about Cunningham's influence," replied<BR> Alston. "Apart from anything to do with choreography, he's an<BR> absolutely brilliant and influential teacher, so he has influenced<BR> choreographers in ways that Paul hasn't. Because Merce's method<BR> was dealing with chance, he had to devise a very clear and<BR> objective language. Among younger choreographers, Trisha is<BR> actually more influential now than either Merce or Paul."<HR></BLOCKQUOTE><p>[This message has been edited by grace (edited October 11, 2000).]

related to this discussion topic: 'paul taylor, still out on the edge' - a review by alexandra tomalonis..hmm..that name sounds familiar....<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Taylor's works have the texture of paintings. His dancers are all shapes and sizes, and when he arranges them to emphasize these differences, the stage is as pulsing and full as a grieving heart.<HR></BLOCKQUOTE><BR> <A HREF="http://www.washingtonpost.com/ac2/wp-dyn/A36487-2000Oct9?language=printer" TARGET=_blank>http://www.washingtonpost.com/ac2/wp-dyn/A36487-2000Oct9?language=printer</A> <P>note: the link to ismene brown's article in the fisrt post of this thread, also appears in this dance umbrella thread:<BR> <A HREF="http://www.criticaldance.com/ubb/Forum5/HTML/000218.html" TARGET=_blank>http://www.criticaldance.com/ubb/Forum5/HTML/000218.html</A>

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